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Painting in Pisa, Lucca, Sardinia, Liguria and in Small Tuscan Centres

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The Development of the Italian Schools of Painting

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Abstract

Among the local groups in Tuscany, that of Pisa is by far the most important and moreover is the only one that can be called a school. Documents of the 14th century furnish us with the names of fifty-seven painters working in Pisa at that period (2).

A. Da Morrona, Pisa illustrata nell’ arte del disegno, II, 2nd ed., Livorno, 1812, p. 427. L. Tanfani Centofanti, Notizie di artisti tratti dai documenti Pisani, Pisa, 1893. I. B. Supino, Catalogo del Museo Civico di Pisa, Pisa, 1894. G. Trenta, L’Inferno etc. del Campo Santo di Pisa, Pisa, 1894. E. Jacobsen, Das neue Museo Civico zu Pisa, Repert. f. Kunstw., 1895. C. Lupi, L’Arte senese a Pisa, L’Arte antica senese, I, Siena, 1904, p. 355. I. B. Supino, Arte pisana, Firenze, 1904, p. 264. L. Simoneschi, Catalogo del Museo Civico di Pisa, Pisa, 1905, I. B. Supino, Pisa, Bergamo, 1905. O. Sirén,Maestri primitivi, Antiche dipinti nel Museo Civico di Pisa, Rassegna d’Arte, 1914, p. 225, R. van Marle, Simone Martini et les peintres de son école, Strasbourg, 1920. p. 164. E. Lavagnino, Pittori pisani del XIV secolo,L’Arte, 1923, pp. 33 and 72.

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References

  1. P. Bacci, Bonamico Buffalmacco pittore e la critica tedesca, Pisa, 1917. Kurzwelly, Buffalmacco — Traini Frage, Repert. f. Kunstw., 1912, p. 337. With regard to Sirén’s identification of Buffalmacco and the Master of St. Cicely, v. Vol. III, p. 276.

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  2. Bonaini, Memorie inedite intorno alla vita e di dipinti di Francesco Traini, Pisa, 1846. Kurzwelly, op. cit. L. Simoneschi, Notizie e questione intorno a Francesco Traini, Pisa, 1898.

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  8. A polyptych at Ottana in Sardinia with which we deal afterwards, has. been associated with the name of Traini (Brunelli, L’Arte, 1903, p. 384), but in spite of a certain resemblance, I do not think that there is sufficient reason. for this attribution.

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  9. A. Gösche, Simone Martini, Leipzig, 1899, p. 27, note 1, judges these panels as a possible work of Simone’s. Lavagnino, op. cit., p. 37, notices in. them Lorenzetti’s influence which I fail to discover.

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  20. B. Khvoshinsky and M. Salmi, I pittori toscani, II, Rome, 1914, p. 3a, attribute this little panel to Nardo di Ci one.

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  21. Supino, Rivista d’Arte, 1905, p. 13, believes this picture to be a work by Barnaba da Modena; formerly (Campo Santo, p. 68), he hesitatingly ascribed it to Pietro Lorenzetti.

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  22. Mrs. Logan Berenson published it as a work by Taddeo di Bartolo in the Rassegna d’Arte, 1915, p. 3.

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  37. At Rosano, near Pontassieve, the church contains an Annunciation of the school of Agnolo Gaddi. In the church of Ristonchi, near Vallambrosa, we find two panels each showing three saints, executed in an original and interesting manner; a Madonna delle Grazie in the Oratory of San Giovanni Val d’Arno which also possesses an altar-piece by Giovanni del Biondo, shows, although considerably repainted, Florentine characteristics. E. Baldi, L’Oratorio della Madonna delle Grazie in San Giovanni in Val d’Arno, Florence, 1914, pl. XII. Some remains of 14th century frescoes are to be found in the S. Lorenzo church of this town.

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  38. The former of these schools is represented by a Madonna by Taddeo Gaddi (v. Vol. III, p, 342); the latter by Segna’s Maestà (v. Vol. II, p. 127). A half-length figure of the Madonna in the church of Rivaio seems to be a production sooner of the Sienese tradition. A. Del Vita, Castiglion Fiorentino, Milan, no date, pl. XI.

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  41. A. Del Vita, La Pinacoteca d’Arezzo, Rassegna d’Arte. 1915, p. 75. M. Salvai, Catalogo della Pinacoteca Comunale d’Arezzo, Citta di Castello, 1921.

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  42. M. Salmi, Un affresco primitivo in S. Domenico di Arezzo, Rassegna d’Arte, 1910, December, p. 1

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  44. O. H. Giglioli, Borgo San Sepolcro, Florence, 1921, pp. 7, 54, 17, 20 and 32.

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  45. Ciampi, Notizie inedite della sagrestia di Pistoia etc., Florence, 1810, pp. 93, 106, 107 and 145.

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  46. Only, however, if we identify his Giovanni di Pistoia with this painter, Vasari-Milanesi, I, p. 542. See also Ciampi, op. cit., p. 117. Tolomei, Guida di Pistoia, Pistoia, 1821, pp. 13, 102, 161 and 163. Crowe and Cavalcaselle, III, p. 219. Chiappelli, Di una tavola dipinta di Taddeo Gaddi, Bollet. Stor. pistoiese, II, 1900. Khvoshinsky and Salmi, op. cit, P.37. M. Salmi in Thieme-Becker, Künstler Lexikon, XIV, p. 108.

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  47. G. Milanesi, Documenti per la storia dell’ Arte senese, I, Siena, 1854, P. 48.

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  48. Crowe and Cavalcaselle, II, p. 1492. Beani, La chiese pistoiese, Pistoia, 1883.

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Authors and Affiliations

  1. San Marco di Perugia, Italy

    Raimond van Marle (Doctor of the Faculty of Letters of the University of Paris)

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van Marle, R. (1925). Painting in Pisa, Lucca, Sardinia, Liguria and in Small Tuscan Centres. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2796-5_3

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  • DOI: https://doi.org/10.1007/978-94-015-2796-5_3

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